Tangeble Music Lab presents The first ever World's First Out of Control Event Hello and welcome! On behalf of the Tangeble Music Lab, I'd like to welcome you to the first ever World's First Out of Control Event. Welcome! Well, I see many known and friendly faces, but I also see some unknown and friendly faces, so maybe I'd like to introduce ourselves very quickly before I give the word to Enrique, who will tell you more about the actual idea behind our out-of-control event. So my name is Martin Kaltmohner, I'm the director of the Tangible Music Lab here, which is here in the tobacco factory, part of the Kunst-Uni Linz. And we have been running actually since four years now a master program which is dedicated to the design of noble musical instruments. And as you can imagine, the design of a noble musical instrument is a kind of difficult task sometimes, so that's why we decided also to create this event to take the difficulty out of the idea and just make fun instruments. And we are looking forward to seeing actually all the creations of our students from the post-literal Lutheran master program and even guests who came to Linz extra to show us their instrument and controller ideas. I'd like to introduce our team quickly. So there's Enrique Tomas, assistant professor at the Tangent Music Lab. Ulla Rauter, senior researcher and senior lecturer at the Tangent Music Lab. Linda, our lab assistant who is taking care of our super well-equipped bar tonight. And Darsha, one of our lecturers who is just around during this week and also participating in the thing. And a special welcome, before I give the word to Enrique, to our friends and colleagues from Bruckner University. So I see Enrique Mendoza here and Bernhard Breuer, who is also conducting the ensemble tonight. They are very close friends and collaborators from the Bruckner Uni and without them our master program would not be possible as well. So please Enrique, do you want to take over and tell us a bit more about the idea behind Out of Control? Thank you Martin. So yeah, we have prepared a short speech about Out of Control. So we want to say welcome everyone, students of the post-digital Lan faculty, friends. This is a celebration of musical instruments and the bodies, minds, and communities that play them. When we think of musical instruments, we often think of control. Keys, knobs, sliders, they are systems for precision, mastery, and discipline. But the instruments gathered here today at Out of Control invite us to rethink that idea. What if the instrument isn't something to dominate, but something to dialogue with. What if the most meaningful sounds happen when things go a little bit out of control? And by that, we don't mean chaos, or at least not only. We mean beyond control. Some of these instruments that you see here, what we do in our daily life, are built from layers of sensors, code, networks, and feedback loops. Systems which are actually so complex that the result can't always be predicted. They blur the line between human and machine, instrument and score, between intention and reaction. In these spaces, music becomes something that thinks with us, plays with us, or sometimes even plays against us. So to be out of control is also to reclaim agency in new ways. For many of us, especially disabled, racialized, queer, or non-normative bodies, control has been always been a negotiation. These instruments open up a space for other ways of expressing, not rooted in mastery, but in feeling, in gesture, in breath, in interruption, in choosing what to hold on and what to let go. And let's be honest, we gather here at a time when the world itself feels a little bit out of control. Climate politics, war, inequality, the structures meant to keep things stable are showing their cracks, revealing violence and instability. In response, we offer not more dominance, not more control, but more listening. Not tighter control, but more openness. Not silence, but sound. At our out of control, we open ourselves to what is unpredictable, uncomfortable, and alive. Let's listen not just to what we can control, but to what we can imagine together beyond that control. So thank you very much. Welcome to Out of Control. Let's have fun together today. Thank you. Thank you, Enrique. Let's have fun together today. Thank you. Thank you, Enrique. Actually, when we started to think about how to create a master program, we knew a lot of things we want to do, and we also knew a lot of things we don't want to do. And one of the defining ideas was also by exclusion. So one of the topics we have here, so playing instruments without hands, for example. defining ideas was also by exclusion. So one of the topics we have here is playing instruments without hands, for example. But one of the thoughts we had when we were listening to a song, we don't play guitars, it was quite resonating with us. And at that time we actually asked Alex Murray-Leslie if he can donate this song to us to be a kind of an unofficial anthem of our master program. We have been also using it at the announcement for our event today. And Alex is here today. We thought it's the best to invite her to give us a little input performance lecture on actually her work, because she's not only a well-known performer of Jigsaw Speed fame, but she's also an instrument maker, and she has been a post-diesel instrument maker before it even was known as a term. So thanks a lot for coming, Alex, and we're looking very much forward to your presentation. Jack? Thank you. On that note, I would just like to start with something that is a response to our times thank you Enrique for also acknowledging the situations in the world at the moment and just one sec could you turn this up like the Just one sec. much, much, much louder. Urban gardening. Should be more like a pop show here. Yeah, more volume. Enrique, woo! Yeah! Ha ha ha ha ha. Step by step. Circular aesthetics, step by step. Degrowth insurance, step by step. Fast fashion out of fashion, step by step. Business share and care. Step by step. Business share and care. Flying Leaves. Yeah, I've just been at the Global March for Gaza in Cairo. And that is one of our music videos that will be released in around a week. So I played that just because I think as an artist at the moment, it's sort of like, it's quite, you know, I feel like at the moment the only thing I can do is use my platform and that of Chicks on Speed for art activism. And so a lot of this work that's been developed over the last 27 years in Chicks on Speed with my collaborator Melissa E. Lurgan doesn't address the current time. So I just wanted to play that for you. And so I don't know if all of you are familiar with Chicks on Speed, but so Melissa and I started the group actually literally behind the Munich Art Academy in around 1997. And we worked between the fields of pop music, performance art and critical costume design, film, new interfaces for musical expression. And those began in around 2007. And so I just want to talk about that, because when Martin said I started before any of this started, we were making our instruments after we saw this amazing performance of F.M. Einheit from Einstürzende Neubauten in Munich. And I was like, whoa, what's this guy? He's got this coil and he's got this machine on it. And I just thought, you know, we really need to do something like that. And because at the time we played with a mini disc player and we had our costumes, but we felt the need for props that could be semantic props or, you know, metaphors for further expressivity and choreography and so on. And so just seeing that work, it just really got us going in this field. But I didn't know there was a field called NIME. It wasn't actually until like 2013 when I started my PhD. And suddenly Sam Ferguson, who was my collaborator, a technologist, said, you should really check out the NIME field. So I looked at some papers and was like, hey, wait a second, there's 2,000 people doing this. And then I realised, OK, we're not the only ones. But that was also really reassuring. And it's also the time I met Martin and we also collaborated together but so maybe I should just explain what so we then coined the term object instruments so that's you know we have an archive of object instruments now you could say you know these are our object instruments the sewing machine with a contact mic but so so there's sound sources, there's scenographic elements and critical costumes, as I mentioned. And a critical costume is something that is... It's a critical practice, costuming the body. And it happens during performance, usually. And it's a term that Sophia Patovsky coined in around 2015. And so a lot of our work is really inspired by feminist performance, mainly from the 1970s like Valley Export or Carolee Schneemann, the work of Rebecca Horne, Orlan, Atsuko Tanaka, Electric Dress, and Yoka Ono. But Chicks on Speed is not just Melissa and myself. So really, we're like a collaboration. We're a collective. And the collective, depending on what the project is, changes and grows and is quite transient and people come and go but we also have core collaborators like the artist and professor Tina Frank who's here running the visual communications department, Kati Glass who works in costume and works on stage off stage and her instrument is the sewing machine, Anart Ben David is another collaborator, Al Steiner, and many, many other wonderful artists that we work with. So that's why we were able to make so much work over these last 25 years. And this is just a text I've written recently, celebrating this idea of collaboration, because now Chicks on Speed will release on Grand Line Records a box set that celebrates all of this work we've done with all of these amazing artists together. So a well-working collaboration is a learnt craft created through slow relationalities of artistic research and experimental processes, making new queer feminist drag historiographies, meeting new people, loving conversational transfers, continually questioning, non-framing layers of complex contrasting skill sets and mediums of making, interwoven in non-disciplinary analog digital layered and messy artistic practice for counter and participative publics it's not the individual but the individuals co-jointly finding balance in a legendary collective responsible for making real the joy and beauty that's what's left over after joining together crossing cultures binaries in multiplicity new change it's the's the ambivalent, nonsensical, shifting nature of the collaborations based on the expertise of each individual in the group. Alongside amateur students, teachers who come in and learn to relate to broad societal perspectives and the integral importance of art for everyone, where everyone can be an artist. So they take away and multiply or take over the collective taking place and or replacing the originals like me and Melissa, so we could get cloned one day. Soon, we will. In the group, some have skills or attitudes, you or I don't, confronting your own weakness. But comparing is always a losing game. Those shared techniques, skills and craft, know-how empower the we of the collective. This interweaving of skills and competencies and confidence makes the group dynamic and able to face critique, be relevant, reinventing new worlds constantly, molten, always, already, again. The group can push one way and then the other, holding tension, fragile, sharing, navigating, following and trusting, celebrating one another, holding tension, embracing tension, the uncomfortableness of artistic creation, holding tension, laughing and dancing, invention, tension, invention. The collective is never all-knowing, embracing constant emotional exchange, and it's the people in participating co-joint. After each meeting of minds, performing bodies, machines and actions intensifies, building, builds up, joins and pass co-joinings here and now, Topia. It's over time that collaboration and art collective can truly find its layered form, be responsive, reasonable, unreasonable, share its language, make things happen in and outside art. People can come in at any point or go in separate directions, leaving traces, stains and marking fresh lines to realign later. stains and marking fresh lines to realign later. So we also, through these years, have developed a process called slow song science. And that is just the idea of like seeing a song, a pop song, as something that is developed with a sort of rigor. So it's not like this, like today you have on Spotify and a lot of groups will say okay I've got my pop song or my track and then I'm going to get 10 remixes so I can take up space on Spotify and earn some pittance of whatever because somebody's stealing it all but it's more that you really see a song as a work of art. You take a lot of time with it. You collaborate with a lot of people and people from different disciplines. So like, for example, I work with Sophia Estathieu, who's a philosopher. We work in bigger research projects where pop music can become a vehicle to express some of the artistic research in that. And so just trying to see a song as more than just three minutes 50. Demaking so this was sort of part of the strategy that I identified with when I started to make self-made musical instruments and demaking is it's this process of taking something that you know and making it strange so it's a little bit like detournement from the surrealists or there's this other term called over-identification So one example of demaking, Deleuze discusses the notion of changing the purpose of the hands to the feet. So this quote summarises how this can result in the composition or rearrangement of the overall assemblage. I wear my shoes on my hands, then their elements will enter into a new relation, resulting in the effect or a becoming I seek. But how will I be able to tie the shoe on my second hand once the first is already occupied with my mouth, which in turn receives an investment in the assemblage, becoming a dog muzzle, a dog muzzle. Insofar as a dog muzzle is now used to tie shoes. At each stage of the problem, what needs to be done is not to compare two organs, but to place elements or materials in relation to each other. That uproots the organ from its specificity, making it become with the other organ. Beat, beat, beat, beat, beat. And on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, And on it! Tension Invention Eyes and ears pay attention Tension Invention Tension Tension Invention, tension, invention, tension, tension, invention, tension, invention, tension, invention. So, you need some tension to have an invention. Happens in collective law, so there's a lot of discussions. So, this is the hat that was made with Christoph Coppens, the amazing hat maker. He's actually an opera director now. And it's this idea that you can go anywhere and have a party anywhere. And it has a microphone, MP3 player, and Peter Zinoviev. We met Peter at ZKM many years ago, and he put it on. And does everyone know who Peter Zinoviev is? He was the founder of EMS synthesizers or something like this? Yes. And, yeah, his engineer was stolen by Robert Mook, by the way. I have a very strange feeling in my head, but the whole world is going around and around. object instruments On top, hear the terns, escape the walls. Peace to guys, and press your eyes, protest beyond it. Plop, object instruments. So, yeah, things can get messy. Multiple performances trying to figure out different ways to use these things. Many times they're used for like the length of a pop song, as a prop, as a statement, as an amplification of a moment on stage. Then the theremin, Clara Rockmore. So the theremin, I think everybody, many of you will know this. So operates using two heterodyne radio frequency oscillators whose frequency differences produces an audible signal with pitch and volume modulated by the performer's hand, proximity to the capacitive sensitive aerials, that then the circuit's electromagnetic field are changed. So I was really into the theremin, but I really didn't like these sounds that it was making. And I think it's just because it's such a sort of a sound brand or something for like fake sci-fi. And so then I began working with Alex Posada, who's this amazing technologist, artist, north of Barcelona. I worked at Angar.org, if you know the space. And that's actually where we produced probably around, for 10 years, most of our instruments. And so Alex worked for like a year to develop a system that would use this let's say form of triggering but we would trigger then a whole other sound palette and so Alex worked on that and then I worked with Maché Blasco on the sound palette. And there's... I should talk about the weaving. This was, like, by the Australian Tapestry Workshop in Australia with four weavers. Sarah Lindsay was the leading weaver. And it was woven during an exhibition. And so basically these four copper wires were woven, interwoven. Each of them is like one millimetre thick and then connected to this black box. So it was all... This piece is like full of mystery because these black boxes, they were made by Andrei Smenov at the Theremin Institute when it existed in Moscow, they were sent to us but then they got lost in somewhere. They never arrived because somebody thought they were highly suspicious at the customs. But finally we got these black boxes and then we could continue to develop the piece. And actually these coils in here were made in like the 1950s. So it's actually, we can't replicate this piece at the moment. So we are actually, with Alex, developing a different kind of black box so we can do more of these. So the tapestry took something like six months to weave. And, yeah, it's played using the two hands. And you can use basically one of the lines will be like a filter and the other is the volume and the other is a MIDI trigger. And so you can have quite a lot of fun playing that I'll give you like if you look up the theremin tapestry chicks on speed you'll find the first test with it and you can have a look at that but then so just giving you an idea this this notion of the polymorphic so stretching an idea across mediums these instruments went from like on stage galleries and into film and this is our film golden gang and just a scene from it it's actually I can see my life. Yes, come on. I can sing. I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I... I instrument was called color tuning and it worked with mapping colors and assigning them to two different sounds that was quite simplistic but I was just wanting to experiment with a lot of different concepts and systems and ways of triggering and work with always with fashion and choreography and this was just a log that Melissa found me in the in the forest I think in Greece and just with a contact microphone and then going through a mooga fuga and performing it was like a fashion piece in Paris with Pelican Avenue and at this at this stage I became very interested in the work of Mladen Stilnovic. I don't know if any of you are familiar with him, but he used to go to sleep in museums and had this whole... He has this whole concept about being lazy and whole manifestos against capitalism. Amazing and so timely, actually. And you have to check out my laden's work so I started to I was artist resident actually at NTNU where I'm working now in Trondheim in Norway and I started to rig myself up with various sensors in the sleep lab because they do a lot of sleep research in Norway because some of the darkness and then the extreme midnight sun in summer. So sleep is quite a theme there. And I've worked with various psychologists during sleep performances and got them to wake me up and ask me certain questions and just developed various polysonographies that then led into installations that were seeing the bed as a site for, you know, sleeping, but this is the place that artists are actually still working and problem solving and so on. And this is the installation at the Louisiana Museum that was on a year ago. Have a look at that. a year ago. Have a look at... So the brain data was taken and sonified and then various visualisations also made. But they're not... Yeah, I mean, the sound is closer to not being so arbitrary, but obviously it became very poetic with the kind of mapping that we were doing onto the bed. For almost all of human history, pretty much up until the dawn of the 21st century... Wait, I want to just start that again. Can you put this up a little bit? No, I'll just run until we come back later. You're totally sure this part doesn't need to be here? Yes. For most of all our human... Wait, sorry, I missed it again. Now I'll just run until we come back later. You're totally sure this group doesn't need to be here? For almost all of human history, pretty much up until the dawn of the 21st century, people were left alone. In general, neither government agency nor commercial enterprise paid much attention to where an individual citizen went, what they said, what they read or what they bought. And even in those countries where governments did try to do any of that, they had to go to all the trouble of paying agents of the state to follow them about, steam open their letters or bug their phones. To be surveilled and scrutinised was the exception, not the rule. We have learned since the advent of Wi-Fi and the smartphone that people by and large either actually want to be surveilled and scrutinized or care so little about being surveilled and scrutinized that they will trade their privacy for convenience. With astonishing rapidity we have become accustomed, indeed indifferent, to the idea that our movements, thoughts, conversations and purchases are being recorded and logged, very often by entities whose identities and motives are unknown to us. Given the alacrity with which we have as a species made ourselves comfortable... I'll do that again. Given the alacrity with which we have as a species made ourselves comfortable in the Panopticon, it is debatable whether or not we actually want any respite from this eavesdropping. Respite, respite, respite. That's a piece by Andrew Muller who collaborated with us on the soundtrack for the work. And so then I merged things and went straight into bioplastics and cooking down kelp, finding kelp with colleagues off the coast of Norway, the island of Fria, and finding out that it was very possible to get kelp alginate out of the cooked down kelp that was cooked for something like 10 hours and create these sort of bioplastic sheets that looked like a new world and with this I then started to work with I don't know if anyone knows the work of Oivin Branzeg who is a professor up at the music technology department in Trondheim at NTNU so we started to to work together and Oiven has done a lot with contacts and exciting surfaces through putting sound onto surfaces and then playing them with the contact on the knuckle through the bone. And so we did a few performances together and then attached the contacts and speakers to the bioplastics and used these further in telematic performances. So this is when I started to see broadcast art or stream art as a form of object instrument somehow. Obviously this was just after COVID and we did a lot of improvs across the network with a lot of different artists. And I found it very interesting to see how can you play a NIME instrument across the network and how does that come across? And so, yeah, within the Shared Campus project, which was run out of ZHDK, we improvised and had workshops with students between Singapore and Trondheim and Zurich. And so, yeah, part of this we then put onto the research catalogue. I don't know if you're familiar with the research catalogue or if you're using this much, but it's one of the biggest non-linear repositories of artistic research in Scandinavia, out of Stockholm. And so the project is documented there and you can look up real-time telematic audiovisual improvisation if you'd like to know more about the work that we did there. And these educational workshops ran in 2022 and 2023. And the task was for the students would work with us in the mornings on various, say, choreographic methods or methods of doing non-linear vocalising with pop music or building costumes, doing suspended rope bondage and things like this. And they're also working in hybrid environments with the stream art group Ukraina TV. Here is some of the... 아멘 아멘 징더블 사랑스러워보이소 징더블 징더블 징더블 징더블 징징더블 찐담드랩 찐담드랩 찐담드랩 찐담드랩 찐찐담드랩 찐찐담드랩 찐찐드랩 찐담드랩 찐찐드랩 찐담드랩 찐담드랩 찐담드랩 찐담드랩 찐찐드랩 찐담드랩 찐담드랩 찐담드랩 So it was through these bigger collaborations across the network that we realized that wow how do you credit all of this you know because we're so used to this sort of very top-down sort of forms of crediting that are like used in film or even in music or fashion where there's usually just one designer but there really isn't because there's 100 people behind Karl Lagerfeld or whoever else it was so I started to work on this new crediting system because I realized sometimes the person who's done the audio mastering or was doing the aesthetic rope bondage was actually also doing the camera was doing the makeup was doing the camera, was doing the makeup, was doing the embodied movement practices, was doing the expanded paintings on set, was doing the live editing, was doing the logo motion, was doing the sonification, the shoes, the screen printing, the still photo, stimulus, semiotics and style, textiles, telematic systems engineering. So I then thought, okay, everybody should just write in what they think, you know, they've done, and then we will create these acronyms and you can put each of these acronyms next to your name. And so you may have done 20 different things. And I think because I feel working in a collective, crediting is one of the most important things for people, for myself, for everybody, that you acknowledge the work of others and that it's based, a collective is based very much on the solo practices coming into this, so these areas of expertise coming into this larger frame of collaboration. But now I'm going to move on to the shoes. And so this is really maybe one of the key works of Chicks on Speed. It was always these instruments were developed out of necessity. So it was Melissa wanted to bring a guitar on stage. And I was like, can you turn this up, please? And yeah, you can have this one. This is a new version. So we really, I said, no way, we can't have a guitar on stage. There's no, there's just no way because we don't play guitars. And so we developed the hype. No, guitar no! Guitar no! No! This is Teremoto de Alcopon. We don't play guitar. We don't play guitar. We don't play guitar. Standing on stage with our microphones. No, we don't play guitars. Can you show us? No, we don't play guitars Can you play guitar? I said, can you play guitar? I said, can you play guitar? So the high heel shoe guitar was not wearable because there's a pickup in here and then you plug in in the back. So I have to say I got really, really obsessed with this instrument for a long time. And then I was like, yeah, but you can't wear it and you're using the hand and there's always this domination of the hand over any other body part to play instruments so I was just sort of like yeah okay we did that but what's the next thing and then developed an amplifier that became like a pedestal this is more from museums because it's um it's a bit tricky to to tour with a... One sec. That's a video. How does that work? It's not going to play. Let's see. Oh, that doesn't play. Anyway, so then came the issue. And so this was like the solution because you could actually wear it on your feet and play it on your feet and also working together with Alex Posada but this came about after a whole series of events I really like that with our instruments there's always these stories with them so we were developing prototypes I don't have them all here to show you but there was like a year-long thing of prototypes we worked together with the shoemaker Max Kabadan who was a friend and I showed him the first one and then he said yeah yeah let's do this and I was very lucky because at the time he was working in Bruno Margli and had access to these amazing shoe factories in of Milan. Anyway, so somehow somebody heard one of Lady Gaga's assistants, Nicola De Formichetti, who was the stylist at the time, heard that we were developing this high-heeled shoe guitar. And he said, wow, you know, maybe Lady Gaga would really like to wear this. And I was like, okay, we've got to do this. We've got to make the perfect shoe. She's going to wear the shoe. And so finally, after many attempts, we've got to do this. We've got to make the perfect shoe. She's going to wear the shoe. And so finally, after many attempts, and we get to the shoe, and I send the picture, and he says, oh, no, she doesn't wear open-toed shoes. Sorry. We can't get Lady Gaga wearing the shoe. And I was a bit depressed, but then I was like, oh, well, we'll wear it ourselves anyway. But the thing is that you could not work in these shoes because they were so high. We didn't have time to test. Okay, our fault. We went into the industrialisation process before testing the shoes out. So they ended up being played in aerial mode, which I actually think is quite cool. And they ended up as sort of, yeah, these props that you had to stabilise yourself with somebody else, otherwise you'd fall over. And they ended up in the V&A as part of The Power of Making with Glenn Adamson. Next to Lady Gaga's shoes, well, okay, Alexander McQueen's shoes that she wore. And then this became an object in hyper-reality because as Baudrillard said, some things are better in hyper-reality. And it was better because the original shoe, you could just trigger some guitar sounds. It was very bing, bing, you know, and maybe there was a guitar solo. But this, you could, and this is in our upcoming exhibition that's going to be at Museum Villastook, you can pull these and play them and there's all these guitar effects and you can change the colour of the shoe. So it's very cool. But then, guess what? Kate Moss wore the shoe in Brazilian Vogue. Mario Testino took the photo. I don't know that she knew that she was wearing this NIME thing here, but it's okay we have that but so at this moment this is when I decided I really wanted to do a PhD and you know go deeper into this go deeper into this idea of not using the hands to play in a musical instrument I started to read a lot of Paul B Preciado and the work. She was, or she at the time, Beatrice, who became Paul. He was championing functional diversity, which isn't a part of the history of art. And so painting with the feet isn't part of the history of art. The story of art is about the hands. It's a power relation. So these were really sort of the questions I set out to answer. You know, how can digital technology facilitate a different kind of aesthetic or theatricality? How can it be used within a Gesamtkunstwerk, an all- all encompassing artwork and I sought to vaguely explore these questions but really I think it wasn't until the end of all of the experiments and working for five years on this that I understood actually what I was really doing and it was really about this hierarchy that has been formatted, you know, the body by elevating the hands at the expense of the feet and it was through a conversation that I had with Kodjo Eshun that I understood what I was sort of doing. So I think the artistic research project was, you know, it was around footwear and it could be seen as a kind of non-art, a series of interconnected experiments of practice, sometimes messy and spontaneous and usually very improvised in order to facilitate new knowings and transfers of these knowings. And seeing it as like something like seeing the stage as a place to, you know, try things out as we do. And then always going back into the lab to sort of refine what I was doing. But I think I have to say I feel like it was at this time that I really doubted what art was. And I saw all of this amazing artistic research coming out of Scandinavia and I thought, and I read this quote and it was, abandon art in the name of art. And I thought, yes, I'm doing that too. And get lost in art, in a new kind of art. And so this is a quote of Ezequiel Capoletto and that's in Michael Schwab's edited book, Transpositions, from 2018. So, yes, John Buller proposed the hand is the mind of the body and the literature describes the form of prioritising the hand over the foot, which has attracted academic attention by which some academics, philosophers, biologists, academic attention by which some academics, philosophers, biologists, ethnographers, anthropologists and naturalists prioritise the hand over the foot. So an example includes the scientific inquiry into hand gestures by John Bulwer, who suggested that the hand is the mind or the body, and he went on to develop sign language. But yes, it's complicated and sort of, it's uncomfortable. High heel shoes are really uncomfortable. And I really wanted to demake the high heel shoes as a form of, you know, getting back at them. You know, they've tortured us. And knowledge at hand, foot. Knowledge at foot. The feet play the role of support structures or even infrastructure for the rest of the body, especially for the hands. The hands, the head and the eyes are the glorified organs of vision, manipulation, tactility and calculation and the feet are a kind of infrastructural support that philosophers never bothered to speak about that much, with notable exceptions such as Bataille, who believed in order to undo the division of labour, as proposed by Charles Darwin, one would have to effectively want to challenge, suspend, reverse, invert or maybe undo that division of labour, which brings up colonised questions. The feet are colonised by the body. The feet are the colonial subject. The feet are being colonised by the body. Yeah. We've worn shoes for a long time, but we maybe didn't realise that those shoes are deforming our feet. And still do. There's so much research around that. I won't go into all of that. But I think just some key moments, of course, have been like foot binding practices by the majority in China that began around the 10th century and went on till the 20th century till around 1912, actually. And then, so I did a lot of research into, like, footwear, yeah? So obviously we all do this because we do literature reviews as part of PhDs and so on, but I did discover some really, really cool things. And I have to say, Peter McNeill was an amazing supervisor because he was like, you won't find the things online. You won't find them. You've got to go to the archives, like we have here. The expert archive, I found something today. So thank you. And there I found this incredible... Now you can find this online, yes, but not at the time. It was not around. These are Mae West's double-decker heels that she actually developed herself because when she came on set, she wanted to, like, glide in. And so they were weighted, and she had a silver pair and a gold pair. So I went to LA to the fit them and I saw those shoes. Also, I was able to also look back and see how other pop musicians had sort of used pop, which is sort of like always had this sort of superficial overtone. And yet if we think about David Bowie and the way you know creating a type of epiphany such as the red shoes in his music video Last Dance from 1983 and the red shoes symbolize their transformative power to make the girl dance western style First Nations people to actors from Sydney and so instantly being part of colonial culture once she wears these shoes, which are symbols for the couple's strength against this Western culture imperialism that was very, very present in Australia at the time. And so I use this as an example also to show that footwork can also transmit deeper, more serious political ideas within a seemingly fun medium of pop culture like music videos. Of course all sorts of shoes that were developed to beat roulette and by Claude Shannon, MIT students. And then you had Expressive Footwear by Joe Paradiso. And then these wonderful surveillance shoes by Jill Magid in 2000, which was used to produce surveillance of the self-lens-based works. So I began playing. I wanted to, actually in the beginning, I wanted to work with the feet directly. And I got rid of the shoes. And so I just used all sorts of sensors and things like this. I might, I'll try to hurry a little bit because there's a lot here. Developed socks, so silicon socks. But then they were sort of faked, they're not real, and then I came back to the shoe and the heel, and I thought, no, I'm going to develop my own circuit and actuation, and it will be aerial, there'll be nothing on the ground, it was force sensitive resistors, though they might mainly for walking and things, but accelerometers and gyro were the main ones. And started to experiment with sports science at the Penn State University, looking at different taxonomies of gestures and what I could do with those gestures and how I could create visual... Taking them back on stage and flying with them in the theatre. And again, every show I thought, I need to play the instrument in a different way. And then began working with trans pole dancer Marlene Bendini in Singapore and realising that the shoes didn't really work on the pole and so we developed a new kind of shoe together and one that.....was, yeah, 3D rendering, cut off the end of the shoe because she was telling me she needs to be able to use her toes and embedded the circuit underneath here and then it's taped onto the foot this is a 3d rendering this one actually doesn't exist but this one does so I started to play around with the 3d printers at pier 9 in San Francisco and hacked the printers and I would print the heel for around 16 hours and then embed mylar in the layers to give it these different effects I don't know that I would make this now I think I would use bioplastics but anyway I made this quite a while ago and so ended up with this series of computer enhanced footwear prototype three and the 3D printer sort of became the stage for performance. And I had a collaboration with Steve Mann, who, everyone will know, developed the world's first wearable computers. If you send me the BBM or anything. Lighting with prototype pixel guys in barcelona this i know this this is really tacky it's with the light in the shoes but i was like ah i just had to do it you know but everyone was like oh we've seen that before in kids shoes so i was like yeah you're right it was not a good time now this is recorded and now it will change every quarter of hour. But then I can record over it and it will randomise again. I'm just not listening to it. Performed at Ars Electronica with them, with Kurt Jurek, and then eventually took them underwater with the photographer Wolf Dieter Grabner. and ended up with a taxonomy of gestures of footwear. So I'm just going to play, just show a few more things that are more related to artistic research and how I'm using the medium of pop within bigger sort of research projects. And one of them was the mitigation project that was meat reduction in Norway. And so we were given the task to develop a pop song that has actually just been released now. But I'm going to play this video for you. And we've got the academics singing, all the scientists and the administration are performing. Carnivore Carnivore Carnivore We eat and drive Hungry And fabulous Meat And track Hungry And fabulous So, Sophia Estathieu actually wrote an academic paper about this and it was comparing meat replacement to drag. So it was really this question of what is actually meat? Anyway, so that's some of the latest work. And I'll just round off though with this is the final piece that we're now working on. It's actually a patchwork uh theremin as well as part of our exhibition that's going to be in munich opening on the 16th of october and i hope that some of you will come um and we're building a yeah stage and this sort of audio visual wave together with tina frank and many of our collaborators part of that. So yeah thank you so much it's a really great honor to be here and I really look forward to seeing all of these instruments and hearing and watching your performances around them. Thank you. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. Out of control. So I think it's good to connect to Alex's idea of hands off, because we are going to have the controller contest. So we are all going to move there to see the projects students have developed for this year's contest, which is the first, obviously. And we are going to have a jam session. And then we are going have a jam session and then we are gonna have solos and then we're gonna see what they have been up to so yes you have one minute to grab your beer the loco loco and go there and see what they have done and of done. So, see you there. And of course, approach Alex, Darsha, everyone for questions. Let's see how it goes. So, there's a person here getting ready. another one here yes, now it's time to go inside, yeah let's go, side-simo faces alright getting ready and missing the monster people and xiaomi, it's gonna be there, all right So, people. So I think the idea is really easy. Yeah. You take a, yeah? Yeah? All right. So, let's have a little bit of attention. Thank you. So, yeah, MIDI controllers, and the main rule was hands off. So basically, you don't play with your hands. And see what you can end up doing. So if you see anyone playing it with your hands, you say no, you cancel them, you say no, that's not possible, right? And then instead of having a presentation with a PowerPoint or anything, because we are musicians, we will have basically a jam session. So they are going to improvise together, they're going to play for, I don't know, 15 minutes, and then maybe, yeah, you just leave them having their moments, but then, yeah, we will ask them to have a solo to present what they have been doing musically and yeah maybe also you can talk to them ask them maybe lick their instruments so just go and I would say three two, let's go jump session. Tengah-Tengah Terima kasih telah menonton Okay, so we are celebrating the Monster Project in 3, 2, 1. Monster Project. It's a project, right? Maybe you can say that. I'm not from India. It's a project by Lydia Vincent-Seyler and Sandra Montilla. They say boost your energy and release your monster. You can just go to the sequencer for the most porbaticious experience. Ok, it's amazing! I love you, too! We go to... We crossfade the sausage. It's a fake. Here. This beautiful sausage instrument we fade, crossfade. It's rebooting. It's rebooting. So then we go to maybe, I don't know, here, or Gus' instrument, which is... Samanto Word. It's a mad crazy. I don't know. Shoot the monster people, those who play now together with Korka. Let's go. Woo! I don't know if you like it, but you can swear. And then we cross back to... You're in the circus. And then we cross thanks to......Junior, Chris Dossius. I'm sorry. So we will start to play together with the Wind Gate. There is something going on in between. So I will say a few words. I will just play the song. The Role Project, which is a Wind Gate. It's a midi--mass interface where the breath, flow, and intellect, physically, were selected by infrared sensors. Terima kasih telah menonton. Thank you. I think in this table we have a nice view of Mr. Freedom. Tony is going to surprise us with this. Sampai jumpa. I will just use my hand for recording some music. And I try to tap with my hip. It's worship. Ok, ya, despite the presence of different people Ya, come on Lama Tengah-Tengah 3.2.1 Kepala Sampai jumpa. Oh Thank you very much! Behind some of this we have a brainy interface which has here a brainy design. T-Rex T'es un peu fou, mais je suis content. Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha 🎵🎵🎵 Thank you. Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Nga kata kata, Alright, so it's Daniel here. I just said the names. Daniel Howes, the carpenter, playing the champions. Tengah-Tengah Tukarapak Tengah-Tengah Kampung Kampung Terima kasih telah menonton. Oh yeah. Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Woo! Sampai jumpa! All right, all right. I see you mastering the instrument. All right. Alright, alright. I see you mastering the instrument. Alright, there you go. Okay. Please, you can just come to the spot. Let's have a big applause for the participants of the conference. All right. So I'm going to go very short, you know, round, asking the participants who they are. Just, you know, two sentences about the project so you know them. By the way, these are our instruments, our students, really, someone wants to study with us and do things like that. So, well, I'm going to start. I'm here with the monsters. So, yeah, tell us what happened here. Basically, we have a monster eviction from exigencies. So this is sort of like a manifestation of this wonderful eviction. It's an intervention. So I should talk pretty much about the Greg Paul today, so... It didn't work. So this is basically a type of seagulls' den, which you can... I don't know if you've heard of it. It's basically a type of singleton, which you can play on your guitar. Alright, and which one sounds better? Pinky, Greeny, green, yellow, purple. So, a big applause please for Rosie. So, tell us what's going on here. So it's called TreadLoss. I TreadLossed last set. It was an important event just to see. Yeah, maybe. Yeah. And that's the set that we found. Okay, so we'll show us again. Sure. Thanks. We'll show us again. We'll show you. Woohoo! Woo! Thanks. Daniel is there, has been thinking a lot in this controller. So yeah, I see you are thinking a lot during the performance. A lot. I'm thinking about this interface. So you can tell us a little bit about the magic which is behind it. Well, there's rain, there's interface, there's song. Are you thinking of specific things while performing? Like maybe the kind of... society or something? Yeah. Can you maybe make us again in 10 minutes? I'm gonna go with the We have from Spain, Ricardo Pastor bringing us a sweet... Yeah, this is a very interesting project based on my past experiences. So, I hope you like it. It's very traumatizing to be in the band. And yeah, I didn't know about this. I just knew, like, I don't know if I look excited about being in a band. And yeah, it's a new life for me. I'm a super A.G. synthesizer. Thank you for coming because you are not very many students of us and you were so brave to come and engage with this craziness. So can you tell us a little bit about your project? What is going on there? I have a project for different kinds of strata and now this is the second version of it. It's sending the IMU data and the distance to the cat-like scene. So I use it to currently to add some pitch shifter to my violin and also some utoposition to my regular synthesizer. And also now I can use the hip movement to tap my track tempo. Yeah, can you play a bit of that? I just play the internet is somehow broke. Sorry, it's over. Thank you very much. The core also mentioned the subcategory, like the interface of instruments you won't get through the airport security. It's also a very much a personal experience for me because every time you go through the airport security, they pull out your white. It's not because of this, but now I know that. So it's a mask with nine mechanical activating levers. It cleans and you activate them through breath. I don't know, it's a bit... The synthetic patas are very special, but I think a more industrial sound would fit better for the aesthetics. So tell us, where would you fly with these in the face? First of all, I would try to get into the USA because they are very strict, I guess. But second, I guess, somewhere in the Far East. Great. Okay, so big applause please for the guys. The last two projects here, and yeah, it's a very intimate controller, right? Yes, it's inspired by the same-sex device called DentalBand, and actually it's designed to be played by two people. It's a natural graphics on the computer, and the data controls and two very sort of sounds of the language at the front. So it's possibly kind of sexy. Any? You know? Want to play? Yeah. So then, Smurka, you also it entered the market. So yeah the body is so entrenched. It's an idea that we as artists have to promote our work in this area. So, this is the series of involved interfaces that take common health and fitness items and then they repurpose them for musical purposes, for controllers. And this, in conflict, is the soundboard. So are you a self-healer now? Are you a controller now? No, I'm not. Okay, so then... Yeah, you want me to play? Do you want to play? Do you want to show us your moves? Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Uh-huh. Oh shit. You're gonna play now for the audience that can approach you and try the interfaces and everything. But there are three categories here that give price to this work. One, the weirdest, is this controller which is super strange. Second, the controller you want to go through security in an airport. Okay? And the third, controllers for lovers, right? So these are our awards for this year. And there will be maybe later special award for the audience. So think about it. We want to give some special awards for projects you like. But then we will have two members of the jury will be Darshan, he is there, give him a applause. And we have Alex to be raised. So they are now in frame, it was going to be the first project and then after the performance of the ensemble that we are going to see and listen in a few minutes. If you can, then you know which projects are awarded this year. So please, again, wave back and then in a few minutes we are back with the ensemble. Thank you. Hahaha Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Luka pas, Luka pas Tengah-Tengah Can I try? Ok, Riccardo. Tengah... Thank you. Gjørens fjell Nå er det en av de tre steg som vi har gjort. Thank you. Thank you. um I don't know. so so Thank you. so Nå er det en av de fleste avslutninger som har skett i denne avsnittet. Kepala kota Nettopp Ketika kita sudah menerima kondisi tersebut, kita akan menerima kondisi tersebut. Nettopp, vi har en avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord av I'm sorry. Thank you. Nettopp Thank you. Nå er det en av de fleste som har vært på denne veien. KAMU MENGALA Oh Nå er vi på Norsk Norsk. Kjell, du har en kjell. so Terima kasih telah menonton! © BF-WATCH TV 2021 I don't know. Thank you. Kjell Kjell Să vă mulțumim pentru vizionare! so so wow so so Kjell Kjell so Norske Rundforskning Nettopp, det er en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av en avsnitt av enord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord av 1.5 kg kvm kvm Nettopp, Vågstavnskog Nettopp, det er en avsnitt av denne avsnittet. Thank you. I'm going to go ahead and do that. Nå er vi på veien. Thank you. Nå er vi på Norske Norske. so um Nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, nattu, Norske Rundforskning Nettopp, fjelletgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord avgjord av Storbritannia Norske Rundforskning Vestasen I'm sorry. Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, Nettopp, vi har på vej. Røde Røde © BF-WATCH TV 2021